News
Jarvis Cocker wins Sony Rising Star Award 11 May 2010 in Jarvis Cocker
Thanks to everybody who voted for Jarvis in the Sony Rising Star Awards. We’re very pleased to announce that he won!
His win will hopefully strengthen the case against closing BBC 6 Music (BBC bosses had previously discussed the possibility of closing the station due to cost cuts).
Of the possible closure he said: “6 Music is never going to be the biggest station in the U.K. but it would be devastating if it was to close. 6 Music isn’t going to change the world – it just wants to make it a bit nicer.”
Jarvis’ Sunday Service show is broadcast...
Jarvis Cocker's BBC 6Music Show Nominated For Award 8 April 2010 in Jarvis Cocker
Jarvis Cocker’s BBC 6Music radio show has been nominated for Sony’s DAB Rising Star Award.
Please take the time to vote here: http://risingstar.sony.co.uk/
Listen to Jarvis Cocker's show on BBC 6Music 2 February 2010 in Jarvis Cocker
The lovely people at BBC 6 Music have created a widget so that you can listen to Jarvis’ latest radio shows:
Biography
Jarvis Cocker has been making music for two-thirds of his life. Two dozen of these years (1978 – 2002) were spent in Pulp, a group with whom he enjoyed most of the experiences you can have as the singer in a band.
First feted by John Peel and then ignored during the long Dole Years, the group eventually became the country’s slowest overnight sensation during a heady period book-ended by ‘Common People’ becoming a touchstone anthem at their Glastonbury headline slot in 1995, and Jarvis invading the stage during Michael Jackson’s performance at the Brit Awards eight months later.
With hindsight, most things that happened to Pulp before or after can be defined in their relation to these twin events, as emblems of sought-after success and its darker cousin, over-bearing fame. The early, striving under-achiever albums (‘It’, ‘Separations’, ‘Freaks’); the gradual pop awakening (‘Intro’, ‘His’n’Hers’); the commercial culmination (‘Different Class’); the comedown (‘This Is Hardcore’) and the final, bittersweet swansong (‘We Love Life’).
Over this time, Jarvis went from being the quintessential outsider to being one of the most recognised and cherished figures in Britain. He brought a rare, bookish wit to the pop charts, and cut an original dash in a rock’n’roll world of dominated by reductive cliché.
After Pulp, Jarvis consoled himself with semi-retirement, moving to Paris with his new wife and child, making occasional media appearances to talk about Outsider Art, Scott Walker or other personal crusades, and sometimes writing songs for others (Marianne Faithfull, Charlotte Gainsbourg, Nancy Sinatra and Air). No longer identifying with the “Jarvis Cocker” of the public imagination, he tried an alter-ego band (the electro-Goth Relaxed Muscle), in an effort to try and rid himself of some of the un-parental thoughts coursing through his ever febrile imagination.
He wrote three songs for, and briefly appeared in, ‘Harry Potter and the Goblet of Fire’, and took part in the ‘I’m Your Man’ tribute to Leonard Cohen around the globe, as well as appearing on a album of Serge Gainsbourg songs.
Sooner or later – as he himself recently observed (in another song written for Lee Hazlewood) – the big stuff comes around, however. And Jarvis was forced to confront the fact that he was, in fact, ill-equipped for life outside the performance arena. And so, he started writing songs to be sung by himself again. One of the first to emerge was the sensational ‘Cunts Are Still Running The World’, written in response to the rock-cum-politics love-in of the G8 summit in Glasgow. The song enjoyed a protracted life as a firm download favourite, given its unsuitability for the delicate sensibilities of radio.
